JAZZ-age glamour with a side of salacious misdemeanor (and murder) wowed Southampton audiences last night.
The critically acclaimed Chicago arrived at The Mayflower Theatre on Monday, November 15, and it certainly packed a punch.
Give 'em the old razzle dazzle and reviewers like myself will be incredibly impressed with the exhilarating and addictive performance brimming with scintillating dance moves and silky vocals.
Based on a 1926 play by reporter Maurine Watkins, and set in Chicago during the roaring 1920’s, the musical tells the tale of a prison full of ladies accused of murder, and of the corruption in the criminal justice system.
Chicago is, at its heart, a fantastically cynical musical about the power of the press, corruption, manufactured 'celebrities' and the hefty price of greedy lawyers alongside the small price of life, which can be taken by one gunshot.
This was all compiled into a fabulously compelling performance complemented by slick Bob Fosse choreography.
Coronation Street's Faye Brookes plays the winsome and charismatic, if slightly power hungry, Roxie Hart, who is accused of murdering her lover after having tried to pin it on her husband.
Her character meets Djalenga Scott's mesmerising Velma Kelly, who killed her husband and sister after finding them in bed together, in Cook County Jail.
The pair dominated the show with their individual storylines, accompanied by their practically perfect and succinct dancing and impressive singing.
For me, Djalenga, a remarkable dancer and singer, stole every scene as the evocative Velma Kelly.
She was sly, mysterious, exciting and intimidating - I left wanting to see more of Velma.
An unexpected but highly enjoyable performance came from Joel Montague who played Roxie's husband, Amos Hart.
His Act II performance of 'Mister Cellophane' was endearing yet emotionally powerful.
A mention must go to Sinitta, Mama Morton, and Darren Day, Billy Flynn, who performed their parts well, but didn't have the same powerful presence as some of the leading roles and dancers.
The casting of Divina De Campo as showbiz reporter Mary Sunshine was a great choice, and I was wowed with her unexpected vocal range.
But for me, what made the show so spectacular was the involvement of the orchestra, who are sitting centre stage, with the set surrounding around them - a clever artistic choice.
This decision reinforced the feeling of being in a lowly-lit, 1920's jazz establishment that fizzles with life as time progresses.
All in all, Chicago is a show that must be watched. It would be a crime to miss it.
Chicago runs at The Mayflower from November 16 to November 20.
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